studio sky (checkerboard clouds), a modified version of an image of the sky, taken from my studio, is mounted directly to the wall. Positive and nega-tive of the same image are superimposed to create a ‘décalage’ or a shadow. The image is presented upside down like the view through a large format camera.

sidewalk fossil is based on a found situation from Brooklyn, New York. It consists of two modified versions of the same image, each showing a Linden tree leaf imprinted in the cement of the sidewalk next to an actual leaf. To emphasize the difference in time between the leaf that has just fallen off the tree and the one that has been ‘fossilized’ at an unknown moment in the past, I burned one of the leaves in the developing process using a stencil in the darkroom. Both prints are color prints, made from a black and white negative.

anti-gravity pebble, a gray pebble cut through its middle is presented as one half balancing on the floor and the other ‘balancing on the ceiling’. The suggested fall in the piece is referenced in monument for a second (splash) on the back side of the free-standing wall: a Polaroid depicting the fall of a stone in water.

permanent liquid_1 & permanent liquid_2 show two stages of the same setting: superimposed photographs of stone structures are juxtaposed with a moving layer of ink in a transparent vessel placed on top. The short-lived ink structures are interwoven with stone structures that hardened long ago: present and geological times are photographically melted into one layer.

The seven part series melting time documents the melting process of an ice sculpture in a developing tray. The sculpture depicts a time piece made from black ink, surrounded by frozen water. Whenever a significant visual change occurred, a photograph was taken. Image one to six show about eight hours. Between image six and seven lies another night. The entire work spans about 24 hours.

The floor piece shows a photograph of the sky in a checkerboard pattern (with half the fields empty). It plays with the antagonism of an ephemeral image content on such heavy material as concrete on the one hand, and with an organic shape contained in a geometrical grid on the other hand.

The gallery has been turned into a lightbox. The negative of a sun photograph taken during the day is displayed nightly, a black sun shining at night. The night could be the negative of the day. The booklet shows the photographic transformation from positive to negative (see the next two pages).

A layer of reversible photochromic pigments has been added to the Venetian blinds in this room, so that one of the blinds gets a yellow tint when sunlight is hitting its surface. The other one gets a blue tint. The complementary colors create a new light situation in the room. This work is invisible whitout sunlight.

The six-part series corresponds with the light that is created by the photochromic blinds in the same room. The motif of the series is a photographic light-meter, designed in the 1950 to measure light-color. While the meter’s body stays in the same position throughout the six images, its chain is changing position in every image. The black and white photographs were printed in the color darkroom, representing a gradient from yellow to blue.

framing the horizon consists of two spatial elements creating a physical detour as well as a visual interruption within the space. They are constructed according to the dimension of the largest passageway of the gallery and would - if put together - fill it completely.

The light of the lamp in the image is filtered neutral in the darkroom printing process. And since artificial light is yellow, ‘neutral’ leads to a blue image. The photograph refers to the difference between perceived and actual light temperature.

The temperature of sunlight is perceived as warm and friendly, but the measurement of its light temperature (5500 Kelvin) shows the opposite: it is blue / cold. The diptych shows an inversion of this perception: a blue sun and a yellow sky.

An image of a light gradient (a photograph of the sky, taken from my studio window) stretches over the width of the central wall in the gallery space. The lower part of the wall has been rebuilt in front of the original and carries the second part of the photograph, so that the viewer has to walk ‘through the image’ in order to get to the second room of the gallery.

A polished stainless steel ball is balancing on top of a saw horse. The entire room is mirrored in the balls’ surface. The saw horse is set up in front of a gradient back drop, in classical studio photography fashion. The gradient is hand-printed in the darkroom.

Through the visual inversion of the background inside the water glass, a drop of white ink becomes visible in front of a white background and a drop of black ink becomes visible in front of a black background.

The built-in wall diagonally splits each half of the u-shaped space. As only the back side of this new wall is used for display, the viewer’s path through the space is artificially prolonged. In the first newly built space on the back side an exposed and an unexposed analog photographic paper (100% and 0% light) are facing and mirroring each other. The second space on the opposite side shows an enlarged excerpt from an exposed photo-paper that has been taken from the developer when showing first signs of darkening. Nothing has been photographed, the structure has solely been created by the liquid photochemistry. The result is a chance state of a grayscale, an in-between of the black and white displayed on the first side.

In addition to the installation there is a booklet showing different examples of the taken from the developer - series: photographic papers that have all been treated the same way and where the developing process was interrupted at the first sight of change. –

n.t.(lens) inverses the natural direction of photography (through the lens into the landscape) by providing a view into the lens, into a little landscape: a reflection of the window of my New York studio that appears in colors determined by the shape and quality of the lens glass.

Undermining the function of light in photography, a space brightly lit by a photo lamp has been ‘photographed dark’ through experiments with the exposure time. The space disappears entirely and only the bottom side of the lamp’s reflector umbrella stays visible.

A cuboid is split in two parts along its spatial diagonal. The two resulting pieces are presented separately, one of them black and the other one white. Like two pieces of a puzzle, they can be put together again in the viewer’s head.

The blue color of the print has been artificially created through filters in the darkroom in reference to the color of the New York sky in the hour of dusk. Just before darkness is also the time when the photograph of the two nails on the (white) studio wall has been taken, as they were seemingly glowing while reflecting the last day-light. The nails are placeholders for possible images while being the image themselves.

The photograph shows a reflection of the studio in an aluminum plate. As described in the title the different colors of the gradient abstractly represent the characteristics of the space (such as trees and sky outside the windows and furniture and tools inside). At proximity the materiality of the photographed becomes recognisable through scratches visible in the metal’s surface. Finally, the photograph is mounted on aluminum to be displayed, so that the source material is also the carrier in the end.

The exhibition is a collaboration with composer Adam Cuthbért. Excerpts from an email exchange between the artists form the heart of the show and are presented as a wall-piece. There is a visual and an audio work relating to each of the walltext sentences.

Elliptical shapes in the corner of a room are photographed and appear as dots through the distortion of the camera’s lens. The image establishes a space that is ‘fictional’. The photograph is presented twice, once mirrored and in grayscale and once in color, with a dotted die next to it.

Pictures of 16 seconds of the water surface of the Hudson River have been mounted on aluminum and were joined in a flexible structure referencing the water’s movement. The bright-brushed aluminum on the back side of the sculpture mirrors the surrounding space.